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Emilio Villa, Pythica Res, da Verboracula, in “Tau/ma” 7, Achille Maramotti Editore, Reggio Emilia 1981. Testo riprodotto in Claudio Parmiggiani (a cura di), Emilio Villa poeta e scrittore, Mazzotta, Milano 2008
pythica res / emilio villa
Archivio mensile:Agosto 2022
re-issue of ‘tip of the knife’
Re-issue of Tip of the Knife: https://tipoftheknife.blogspot.com/2020/07/tip-of-knife-final-issue-35-tribute-to.html
On the 3rd year anniversary on August 4th of Bill DiMichele‘s passing, a special and final issue of Tip of the Knife celebrating the Visual Poetry of Bill has been re-issued. This issue includes a curated selection from some of Bill’s numerous series and references to other art and music. It was very difficult for Will and me to choose the work to publish since his body of work is so extensive and diverse. Thanks again to Crag Hill for adding some work from Score (Visual Poetry magazine from the 80s that Crag, Laurie Schneider and Bill co-edited), Burnhole (Bill’s poetry from the 90s) and a multi-media afterward by Crag with some help from Will (production and guitar).
Thanks to Crag for all of his help and for being such a good friend. And thanks to all of the artists who have contributed to TOK over the years. We appreciate your contribution to the success of TOK.
Bill is missed by all who knew him as a friend and fellow artist. He is dearly missed by Will and me as a wonderful father and husband.
Julie DiMichele
just thinking / rosaire appel. 2022
measuring the universe / roman ondak. 2022
ROMAN ONDAK
Measuring the Universe
Pinakothek der Moderne – Muenchen
3.6.2022 – 25.9.2022
For the first time in 15 years, a performance by the artist Roman Ondak (*1966) can be experienced again, which was created especially for the Pinakothek der Moderne. The concept of “Measuring the Universe” (“Das Universum vermessen”) is simple: the height of the museum visitors is recorded on the wall – in the way parents mark the growth of their children to give them a sense of the dimension of time. An everyday, actually private action becomes the center of attention and is transformed into a public and collective action. During the exhibition period, a drawing is created on the wall that becomes denser and blacker. In the end, all the people will be present at the same time, although they will all have left as well.
Sandro Ricaldone
three works / marie orensanz
Sandro Ricaldone
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Marie Orensanz débuta sa carrière artistique en étudiant la peinture avec deux des artistes fondateurs du Modernisme Argentin : Emilio Pettoruti et Antonio Seguí. En tant que membre actif de la scène artistique de Buenos Aires dans les années 60 et 70, elle participa aux expositions et activités culturelles organisées par l’Instituto Torcuato Di Tella, et s’impliqua dans le Centro de Arte y Comunicación. Elle s’installa en 1972 à Milan. La proximité de Carrara et ses carrières de marbre initia ses premières productions utilisant comme matière la pierre. Elle a depuis continué à travailler avec des fragments de marbre, les transformant en livres et sculptures. Selon les mots de Christina M. Harrison, « Orensanz utilise des fragments matériels et symboliques -de marbre, de lignes, de signes- pour représenter des pensées. … Selon la conception d’Orensanz, l’interprétation de ce travail dépend de l’intersection des fragments avec les pensées et expériences du spectateur. »
En 1975, Marie Orensanz s’installa à Paris et fut plus tard naturalisée Française. Trois ans plus tard, elle écrivit un « Manifeste du Fragmentisme » dans lequel elle présenta la base conceptuelle de ses travaux. Écrit en Espagnol, Anglais et Français, le Manifeste proclame : « le Fragmentisme recherche l’intégration d’une partie dans un tout ; il la transforme aux bout de plusieurs lectures en un objet non terminé et illimité, traversant le temps et l’espace. »
https://www.schoolgallery.fr/talents/marie-orensanz/
dotremont, peintre de l’écriture
Il vous reste quelques jours seulement pour voir et revoir l’exposition “Dotremont, peintre de l’écriture” aux Musées royaux des Beaux-Arts.
Pour reprendre un logogramme de 1974 : “un jour on tourne la page et c’est la dernière”.
Ajoutons ce log – plus léger – de 1965 : “vous m’en direz des nouvelles”.
#exposition #brussels #logogramme #Dotremont
salvatore vendittelli, scenografo per carmelo bene
In questa videointervista, lo scenografo Salvatore Vendittelli (che quest’anno sarà ospite del festival Di là dal fiume con la mostra Gli anni ’50 tra pop e concettuale, che si terrà fra il 2 e il 4 settembre) parla di Carmelo Bene e del libro che ha dedicato alla propria attività con lui tra il 1961 e il 1971:
https://www.aaccademia.it/ita/scheda-libro?aaref=48
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il teatroinscatola presenta: “di là dal fiume”, quinta edizione del festival, 27 agosto – 4 settembre 2022
cliccare per ingrandire / click to enlarge
cliccare per ingrandire / click to enlarge
Comunicato stampa:
https://slowforward.files.wordpress.com/2022/08/comunicato-stampa-di-la-dal-fiume_-2022.pdf
sulla luna (audio) / marco giovenale. 2016-2019
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Sulla Luna (testo già comparso su «l’immaginazione» e «Poesia») in formato audio su RaiPlay: https://www.raiplaysound.it/audio/2020/02/3-sulla-Luna-Poeti-sulla-Luna-5a7c1671-39ca-4e04-92d2-d4434c5180cb.html = https://www.raiplayradio.it/audio/2019/06/3-sulla-Luna-Poeti-sulla-Luna-18822373-d7b7-4f1d-932f-960d4cd05f29.html (in séguito all’uscita su «Poesia», nell’ambito del ciclo https://www.raiplaysound.it/playlist/poetisullaluna a cura di M.G.Calandrone)
il testo:
https://slowforward.files.wordpress.com/2021/07/mgiovenale_-sulla-luna_-02-dic-2015-18-lug-2021.pdf
post precedenti:
https://slowforward.net/2021/07/19/sulla-luna-marco-giovenale-2015-2021/ https://slowforward.net/2019/07/24/sulla-luna-_-lettura-radio-tre/
https://slowforward.net/2019/07/29/poeti-e-prosatori-sulla-luna-rai-radio3-e-poesia-n-350-mariangela-guatteri-et-alii/
declamation / jay snodgrass. 2022
cliccare per ingrandire / click to enlarge
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laissés pour conte / michel audouard. 2022
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paolo ruffino: “future gaming. creative interventions in video game culture”
Sandro Ricaldone
PAOLO RUFFINO
Future Gaming
Creative Interventions in Video Game Culture
Goldsmith Press, 2018
This book is not about the future of video games. It is not an attempt to predict the moods of the market, the changing profile of gamers, the benevolence or malevolence of the medium. This book is about those predictions. It is about the ways in which the past, present, and future notions of games are narrated and negotiated by a small group of producers, journalists, and gamers, and about how invested these narrators are in telling the story of tomorrow.
This new title from Goldsmiths Press by Paolo Ruffino suggests the story could be told another way. Considering game culture, from the gamification of self-improvement to GamerGate’s sexism and violence, Ruffino lays out an alternative, creative mode of thinking about the medium: a sophisticated critical take that blurs the distinctions among studying, playing, making, and living with video games. Offering a series of stories that provide alternative narratives of digital gaming, Ruffino aims to encourage all of us who study and play (with) games to raise ethical questions, both about our own role in shaping the objects of research, and about our involvement in the discourses we produce as gamers and scholars. For researchers and students seeking a fresh approach to game studies, and for anyone with an interest in breaking open the current locked-box discourse, Future Gaming offers a radical lens with which to view the future.
